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INDONESIA
Greget
Published by Institut Seni Indonesia Surakarta
ISSN : 1412551X     EISSN : 2716067X     DOI : -
Core Subject : Humanities, Art,
Arts Humanities
Greget focuses on theoretical and empirical research in the Dance Arts. The journal welcomes the submission of manuscripts with the theoretical or empirical aspects from the following broadly categories.
Arjuna Subject : Seni dan Humaniora - Seni dan Humaniora (Lain-Lain)
Articles 9 Documents
 1 
Search results for , issue "Vol 12, No 2 (2013)" : 9 Documents clear
“POHACI” SEBUAH ABSTRAKSI KARYA DARI SERAT CARIOS DEWI SRI Hartanto Hartanto
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (403.907 KB) | DOI: 10.33153/grt.v12i2.509

Abstract

The 50 page study of the work of art entitled Pohaci by Hartanto, S. Sn., M. Sn., 2012, wassponsored by a grant from DIPA ISI Surakarta in 2012. Pohaci is a dance which was inspired bythe story of Dewi Sri or Nyai Pohaci Sanghyang Sri, a tale about the rice goddess, from West Java.This work takes the figure of Dewi Sri as a reflection of Javanese women with their characteristicsof elegance, beauty, gentleness, grace, kindness, and all the perfection of a woman. The dance lastsfor 27 minutes and is presented as a new dance form. The problem addressed in the study is howthe story of Pohaci Sanghyang Sri is treated with a new or different concept and how it is interpretedin the dance. The aim of this research is to present an abstraction of the figure of a womanand to provide substance for the new work in the form of a bedhayan. It also aims to increaseknowledge and add to the existing repertoire of dances that are based on literary works. Themethod used for answering the questions includes a method of interpretation and a method ofconstruction. The method of interpretation uses an approach which interprets various elements ofthe treatment such as the content and form, the movements, music, costumes and make-up, andalso the lighting. The method of construction is a way for implementing an activity of creating awork of art, beginning by planning the movements and continuing until the work is completed.The results of the study show that the dance Pohaci is not based on the actual storyline of DewiSri but rather on the figure of Dewi Sri herself who is likened to the figure of a Javanese woman.The work is presented in the form of a bedhayan and uses 7 female dancers, accompanied bymusic played on the Javanese gamelan.
GUNA DAN FUNGSI TARI PIRING PADANG MAGEK SUMATERA BARAT Syahrial Syahrial
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (275.459 KB) | DOI: 10.33153/grt.v12i2.495

Abstract

Tari Piring is a traditional art which can be found in almost every village or nagari inMinangkabau. The nagari of Padang Magek, in the Tanah Datar Regency of West Sumatra, is avillage which owns and preserves the existence of Tari Piring. The Tari Piring that is owned andmaintained by the people of Padang Magek essentially reflects the dignity of the village chief inleading and educating his people. As an integral part of the socio-cultural life of the people ofPadang Magek, this dance has a specific function and purpose associated with the object andpurpose of the performance. From the analysis that was carried out, the results obtained indicatethat Tari Piring serves as 1) the expression of emotions, 2) aesthetic appreciation, 3) entertainment,4) symbolism, 5) integration of the community, and 6) sustainability for the culture. FurthermoreTari Piring is used for 1) material culture, 2) social institutions, and 3) aestheticalpurposes.
GARAP SUSUNAN TARI TRADISI SURAKARTA PADA TARI RETNA TAMTAMA Nanuk Rahayu
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (294.06 KB) | DOI: 10.33153/grt.v12i2.511

Abstract

The writer is also the creator of the dance Retna Tamtama and the process of creation wasbased on a broad background. The crystallization of the writer’s experience in working on “SrikandhiSenopati” had a strong impact on her soul. After much reading and contemplation, her imaginationwas stimulated and enriched by the reality of life today and even by her own personal experiences.Encouraged by these strong feelings, ideas emerged which were then transformed into atheme. In order to visualize the final work, stages were set to be used as a guideline. This wasfollowed by a process of creative work which involved preparation, formulation, and interpretation,based on the concept of treatment that was to be applied to the content and form of the danceand reflected in the dance movements, the musical accompaniment, or gending beksan, the costume,and the properties. The final stage of the creative process was the performance itself. Theidealism of the creator in performing her work meant that the dancers had to present a highquality of performance.
ANALISIS BAHASA PRAGMATIK ADEGAN MENAKJINGGA GANDRUNG DALAM LANGENDRIYAN RANGGALAWE GUGUR Maryono Maryono
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (438.883 KB) | DOI: 10.33153/grt.v12i2.499

Abstract

This paper aims to discover the meaning of the Menakjingga Gandrung scene inLangendriyan Ranggalawe Gugur through a study of the pragmatic language used. The researchuses a descriptive qualitative methodology. The theoretical basis used for analyzing the object ofthe study is a combination of pragmatic theories and performing arts theories. The target of thepragmatic theories is the types of linguistic texts while the performing arts theories are directedtowards physical elements of a non-linguistic nature.Based on a study of the verbal and non-verbal components in the Menakjingga Gandrungscene in Langendriyan Ranggalawe Gugur, it is evident that its theme is that of gandrungan orunrequited love. The story portrays the love of Adipati Menakjingga for Queen AyuKencanawungu. His love remains unrequited despite his power and supernatural abilities. Thereality of this situation is also contained in the words of the song Asmarandana which states“gegarané wong akrami dudu bandha dudu rupa among ati pawitané” (the main asset for aperson to love is not wealth, nor is it good looks, but rather comes from the heart). Therefore, a loveaffair is truly determined by the compatibility and harmony between two people’s hearts whenthey are sincere in sharing their love for one another. 
TARI TRADISI GAYA SURAKARTA Sriyadi Sriyadi
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (259.459 KB) | DOI: 10.33153/grt.v12i2.515

Abstract

Traditional Surakarta style dance is a cultural heritage that must not be changed. It hasbeen passed down over many generations as a legacy that still adheres to the rules and regulationsthat were first determined by early dancers. The presence of Surakarta style dance in the royalpalace is an example of an important cultural heirloom that belongs to the king and is also aconcept for the king’s power or legitimacy. 
MODEL PERTUNJUKAN BARONGAN ANAK SEBAGAI TRANSMISI BUDAYA DAERAH Karyono Karyono
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (271.741 KB) | DOI: 10.33153/grt.v12i2.503

Abstract

This study is in the form of “action research” which focuses on the result of the study byplacing data in the form of a children’s performance of Barongan as the material to be processed.Barongan is a folk art from Blora which has strong roots in the local community. In Blora, it is akind of communal art activity in which almost every neighbourhood has its own Barongan group.This is connected with the local belief that Barongan has the ability to protect the community, asreflected in the ritual ceremony Lamporan. In the past, Barongan has only been performed as aprocession, either as part of a ritual or to celebrate important national days. After seeing howchildren play with a toy Barongan and imitate its movements, the writer had the idea to carry outresearch and to design a model for a children’s Barongan performance. The model of a Baronganperformance for children needs to be introduced to the community as a means of regeneration andpreservation of a local culture. The method of research used was a method of experimentation andformation in which the method of experimentation was used to find an alternative performancemodel and the method of formation was used to create a performance model.
POPULARITAS KESENIAN JARANAN SENTHEREWE DI KABUPATEN TULUNGAGUNG Rokhim, Nur
Greget Jurnal Pengetahuan dan Penciptaan Tari Vol 12, No 2 (2013)
Publisher : Greget Jurnal Pengetahuan dan Penciptaan Tari

Show Abstract | Download Original | Original Source | Check in Google Scholar

Abstract

Jaranan Sentherewe is a folk art from the Tulungagung regency which continues to existand thrive to the present day. This art form was created in the 1980s to replace the arts of jarananJawa and jaranan Pegon which had existed since 1949. Originally Jaranan Sentherewe was dancedby ludruk artists and as such, the movements were taken from the vocabulary of remo movementsfrom East Java. The presence of Jaranan Sentherewe provided a new spirit for theTulungagung community, as seen in their enthusiasm and the form of dynamic movements used.Its popularity has increased with the new developments in technology that have accompanied it.As a form of folk art, Jaranan Sentherewe cannot escape its function as a form of entertainment,catering to the taste of the community which is increasingly inclined towards the pop culture.Several innovations have been made to ensure that Jaranan Sentherewe continues to exist and itsperformances are still enjoyed by audiences. Performances aim to satisfy audiences by means ofactive interaction. The proof of such interaction can be seen when the dancers experience what isknown as ndadi. Some member of the audience also experience ndadi when listening to the monotonousjaranan music. This ndadi scene is awaited eagerly by the audience who are keen towitness the dancers’ movements when they experience a state of ndadi. In this way, the art ofJaranan Sentherewe cannot be separated from its supporting community, in terms of its existenceand also its form of performance which is always integrated with the audience. 
FESTIVAL LIMA GUNUNG DI MAGELANG Joko Aswoyo
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (273.508 KB) | DOI: 10.33153/grt.v12i2.521

Abstract

This article aims to describe the social and cultural event called Festival Lima Gunung(FLG). This festival is an art performance that is held by and for the agricultural communitieswho live on the slopes of the mountains Merapi, Merbabu, Andong, Sumbing, and Menoreh.The performance is inspired by art forms that are used for ritual purposes in the villages on thesefive mountains. The festival is managed independently without any support from elsewhere.Observation, direct involvement, and interviews were used to gather data related to this festival.The results showed that this event has a significant and varied influence on the development ofthe arts among the agricultural communities on these five mountains.
DARI RELIEF CANDI MENUJU KARYA TARI: SEBUAH CATATAN KREATIF Anggono Kusumo Wibowo
Greget Vol 12, No 2 (2013)
Publisher : Institut Seni Indonesia Surakarta

Show Abstract | Download Original | Original Source | Check in Google Scholar | Full PDF (561.26 KB) | DOI: 10.33153/grt.v12i2.493

Abstract

Temple reliefs appear to store data about motifs portraying dance movements that wereknown in the past, although in their depiction, these movements appear broken or fragmented(nyeklèk). As an analogy to this, the pattern of nyeklèkan movements that are well-known inthe Cakil dance can provide a source for creative ideas in the creation of new dances. The questionto be addressed in this paper is how we can use the temple reliefs as a source for creative ideas innew dances. The method used was to trace the values found on temple reliefs and then apply themto the context of performing dance movements, as well as in relation to kinesiology and thesegmentation of the body. Although not in a literal sense, this paper aims to discover the meaningof nyeklèk in all aspects of a performance (movement, music, and artistic setting). In this way,temple reliefs can be understood as the product of a traditional work in the form of artefacts thatcontain a particular meaning. Tradition apparently remains an endless source of ideas. Nyeklèkan,which until now has been understood as a vertex and or a defined bending of the body in Cakilanand strong male dance, is explored in refined or alusan dance with its free flowing movements byadapting the techniques of flowing contemporary dance movements which are based on the techniqueof releasing movements. Nyeklèkan is seemingly a moving frame of movements that areperformed with a technique of freezing at certain points. This provides a rich artistic contrastwhich shows the freedom and ability of the body to perform (or express the language of) a highquality of movements, in every segment of the body, in every field of stance, and in every techniquewhich is applied (whether traditional Javanese or modern-contemporary dance).

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